tv [untitled] July 31, 2010 8:30pm-9:00pm PST
>> in this fabulously beautiful persidio national park and near golden gate and running like a scar is this ugly highway. that was built in 1936 at the same time as the bridge and at that time the presidio was an army and they didn't want civilians on their turf. and the road was built high. >> we need access and you have a 70 year-old facility that's inadequate for today's transportation needs.
and in addition to that, you have the problem that it wasn't for site extenders. >> the rating for the high viaduct is a higher rating than that collapsed. and it was sapped quite a while before used and it was rusty before installed. >> a state highway through a federal national park connecting an independently managed bridge to city streets. this is a prescription for complication. >> it became clear unless there was one catalyst organization that took it on as a challenge, it wouldn't happen and we did that and for people to advocate.
and the project has a structural rating of 2 out of 100. >> you can see the rusting reinforcing in the concrete when you look at the edges now. the deck has steel reinforcing that's corroded and lost 2/3's of its strength. >> this was accelerated in 1989 when the earthquake hit and cal came in and strengthened but can't bring to standards. to fix this road will cost more than to replace. and for the last 18 years, we have been working on a design to replace the road way, but to do in a way that makes it appropriate to be in a national
park and not army post. >> i would say it's one of the most ugly structure, and it's a barrier between the mar sh and presidio. and this is a place and i brought my dogs and grandchildren and had a picnic lunch and it was memorable to use them when we come here. what would it look like when the design and development is completed. and we are not sure we want an eight lane highway going through this town. and it's a beautiful area in a national seaport area on the planet. >> the road is going to be so different. it's really a park way, and
it's a parkway through the national park. and they make the road disapeer to the national park. >> and the road is about 20 feet lower, normally midday, you go through it in two minutes. looking back from the golden gate bridge to presidio, you are more aware of the park land and less of the roads. and the viaduct will parallel the existing one and to the south and can be built while the existing one remains in operation. and the two bridges there with open space between them and your views constantly change and not aware of the traffic in
the opposite direction and notice the views more. and the lanes of course are a foot wider than they are today. and they will be shoulders and if your car is disabled, you can pull off to the edge. and the next area, the tunnel portal will have a view centered on the palace of fine arts and as you come out, you can see alkatrez island and bay. and the next area is about 1,000 feet long. and when you come into one, you can see through the other end. it's almost like driving through a building than through a tunnel. and noise from the roadway will be sheltered. and the traffic will be out of view. >> when you come out of the last sort tunnel and as you look forward, you see the
golden dome of the palace of fine arts and what more perfect way to come to san francisco through that gateway. >> it will be an amazing transformation. now you read it as one section, the road is a major barrier and then a wonderful strip along the water. all of those things are going to mesh together. >> right now the road really cuts off this area from public access. and with the new road, we will be able to open up the opportunity in a new way. >> this bunker that we see now is out of access for the general public. we are excited to completely rework this side and to open up
the magnificent views. and what we want to do is add to this wonderful amenity and restore this coastal bluff area and respect its military history and the doyle drive project is allowing us to do that recorrection. and this area is not splintered off. >> and we can see how dramatic a change it will be when doyle drive is suppressd and you have a cover that connects the cemetery to this project. it's historic on the statewide and national basis, but you could rush the project or put thought and time to create something of lasting public benefit. >> we really want this, for everyone to feel like it's a
win situation. whether you are a neighbor that lives nearby or a commuter or user of the park. that everyone will experience a much better situation than they currently have. >> the human interest to me is how people could work out so many challenging differences to come to a design that we believe will give us a jewel. landmark of a place. >> i am sure it will have refining effect like embark did. and there were people about that and no one would think of that today. and when you look at growth and transformation of the embark, the same with doyle. it will be a cherished part of the city and a worthy addition to what is there. >> it will be a safe and
beautiful entrance to a spectacular beautiful city. it will be the entry to golden gate that san francisco deserves. >> welcome to culture wire i'm your host. san francisco's old mint is one of the most beautiful buildings in the city. for the month of july the old mint is being illuminated by the presentation of traveling light. every weekend in july audiences will be able to walk through specially staged scenes in the vault and move upstairs for a series of dances in the ballrooms and upper courtyards. the director of cultural affairs met with the artistic director during the last rehearsal before opening night.
>> 2011 will mark the 25th anniversary of the joe good performance group here in san francisco and this year they were recipients of a cultural equity program grant that allowed them to restage one of their most significant works. and, joe, what prompted you to restage this performance here at the old mint? >> well, i think we made a piece in this beautiful architectural gem about, kind of about the economy and the fact that everyone is struggling and what would it mean to travel into our future without our wealth, without our security blankets? i really wanted to stage it again so more people could see
it. it sold out last year and many wanted to get into see it and couldn't. so we thought we would bring it back. we were on tour and doing other things, so finally we are here and i'm delighted to give it life one more time. >> traveling light, which is the name of your installation, really gives audiences this amazing opportunity to experience like different mini performances throughout the old mint building. is that correct? >> the two floors of the minter very different. the bottom floor is the vaults where they kept the money and it is dark and dungeon like and cement walls and steel vaults. and up here it is like ballrooms and an opulence and kind of shameful, grandeur really and i thought that was such an interesting contrast and that money and the effect it has on people's lives really goes in both of those dimensions. so, we are telling like little
mini stories in each room. it is a really fun house experience for that. they are discovering the architecture and the personality of the building at the same time they are seeing these performances and hopefully some wonderful dancing. >> the title of the performance installation traveling light also alludes to kind of a cooperation that you had in creating this work, right? >> most of the 25 years i have been working in san francisco i have collaborated with jack carpenter, a wonderful lighting designer. and i wanted to set him loose and let him do what he does. he is very interested in architecture and the effect it has on light and how you can construct light through architecture. then we found this place, which is an amazing architectural mystery. and we can still do that but it also has the resonance of being
the place where money was kind of made in the west. it has all of that history. and it is such a san francisco icon and very few have been inside it. >> unlike a conventional theatre which is where most of your dancers and perform eers apply their craft, here you had to prepare them to use this unusual spa space. what special training or effort did that require? >> we spent a lot of time on softening the joints because the surfaces are very hard and we had built some dance floors in certain rooms where there is very athletic dancing that will happen because we couldn't do it on the marble or cement floors. but there are still many surfaces that are the way the architecture is and they are very hard. so it is really about learning to move through the joints in a very soft way and know that you have gota